The film is the debut feature for writer-director Jennifer Cho Suhr. Production is expected to begin in the summer.

Wu will play a struggling addict who, along with her estranged sister, embarks on a road trip from Iowa to Alaska in search of their birth mother. Exploring themes of grief, forgiveness and belonging, the film centers on the bond between siblings and the resilience and humor necessary to overcome trauma — and is aimed at showcasing the breadth and range of the Asian American experience with complicated and deeply human characters.

“You and Me Both” is produced by Carolyn Mao (“Good Enough”) and Mollye Asher (“Songs My Brothers Taught Me,” “Fort Tilden”). The project is supported by Tribeca All Access, NALIP and Film Independent.

Wu, 33, is a Taiwanese-American who was raised in Virgina. She plays Jessica Huang, the mother of three and the pragmatic wife of Randall Park’s character in the ABC comedy “Fresh Off the Boat.”

The series is loosely based on the life of chef Eddie Huang and his book “Fresh Off the Boat: A Memoir.”

Check it out! AnnaRose King is an Intern named Agnes in this new scripted web series, TRAILING. A sassy and surreal satire of the political consulting world directed by and starring Steven Phillips-Horst, alongside JoAnna Bradley and Lily Marotta.

There are a lot more women in film schools, but when it comes to being working professionals in the industry, there is a definite gap. To change this number, I try to hire and work with as many women as possible so we can create more opportunities for each other. I have a collective called LaTiDa with my female friends from film school and we work together and support each other. I have another company called Fictionless with one of my closest friends and my former colleagues from MTV, Raeshem Nijhon, with Maria Cataldo. (Roye Segal and Oscar winner Ross Kauffman are also partners.) The numbers that support this gender gap are terrifying, but we need to affect change. And I feel as if it is changing—slowly but surely.

David Foster Wallace wrote a magazine profile in the 90s about David Lynch that is included in the book "A Supposedly Fun Thing I'll Never Do Again." What he says about David Lynch the person doesn't interest me much. But there are three paragraphs that I love where he speaks about his experience watching the film "Blue Velvet" in the theater in 1986 for the first time. It's among the many thing that I revisit when I am feeling lost in my working process. It reminds me of what I am reaching for and I thought I would share it here. - Maria Dyer

Our Graduate MFA Program had been pretty much of a downer so far: most of us wanted to see ourselves as avant-garde writers, and our professors were all traditional commercial Realists of the New Yorker school, and while we loathed these teachers and resented the chilly reception our “experimental” writing received from them, we were also starting to recognize that most of our own avant-garde stuff really was solipsistic and pretentious and self-conscious and masturbatory and bad, and so that year we went around hating ourselves and everyone else and with no clue about how to get experimentally better without caving in to loathsome commercial-Realistic pressure, etc. This was the context in which Blue Velvet made such an impression on us. The movie’s obvious “themes”—the evil flip side to picket-fence respectability, the conjunctions of sadism and sexuality and parental authority and voyeurism and cheesy ’50s pop and Coming of Age, etc.—were for us less revelatory than the way the movie’s surrealism and dream-logic felt: they felt true, real.

And the couple things just slightly but marvelously off in every shot—the Yellow Man literally dead on his feet, Frank’s unexplained gas mask, the eerie industrial thrum on the stairway outside Dorothy’s apartment, the weird dentate-vagina sculpture hanging on an otherwise bare wall over Jeffrey’s bed at home, the dog drinking from the hose in the stricken dad’s hand—it wasn’t just that these touches seemed eccentrically cool or experimental or arty, but that they communicated things that felt true. Blue Velvet captured something crucial about the way the U.S. present acted on our nerve endings, something crucial that couldn’t be analyzed or reduced to a system of codes or aesthetic principles or workshop techniques. This was what was epiphanic for us about Blue Velvet in grad school, when we saw it: the movie helped us realize that first-rate experimentalism was a way not to “transcend” or “rebel against” the truth but actually to honor it. It brought home to us—via images, the medium we were suckled on and most credulous of—that the very most important artistic communications took place at a level that not only wasn’t intellectual but wasn’t even fully conscious, that the unconscious’s true medium wasn’t verbal but imagistic, and that whether the images were Realistic or Postmodern or Expressionistic or Surreal or what-the-hell-ever was less important than whether they felt true, whether they rang psychic cherries in the communicatee.

I don’t know whether any of this makes sense. But it’s basically why David Lynch the filmmaker is important to me. I felt like he showed me something genuine and important on 3/30/86. And he couldn’t have done it if he hadn’t been thoroughly, nakedly, unpretentiously, unsophisticatedly himself, a self that communicates primarily itself—an Expressionist. Whether he is an Expressionist naively or pathologically or ultra-pomo-sophisticatedly is of little importance to me. What is important is that Blue Velvet rang cherries, and it remains for me an example of contemporary artistic heroism.

I've recently made a conscientious effort to erase the B-word from my vocabulary and everyday conversations. No, it's not bitch, bastard or bloody idiot...it's "busy".

This all happened after, upon my mother's wishes, I went to church this April. Granted, I'm Christian on her side, Hindu from my father's, I grew up in a Muslim country, and when I met and was blessed by the Dalai Lama, I contemplated Buddhism. Anyway, we grew up in Oman going to both the church and the temple, and it's important to note that it's rare for an Arab country to have public places on worship beyond the numerous mosques that tower gracefully in each postal code. Anyway, I went to the Easter service at West End Collegiate on the Upper West Side in NYC, a considerably liberal Protestant parish. Michael Bos was the pastor there and he had been a friend of my family since his time in Oman.

Michael's message focused on the "Burden of Busy", how we hide behind our smart phones, typing madly as we cross the street, how we have lost the art of conversing in person as we time our sentences. And it got me pretty freaked out. I then realized that whenever anyone asked me how I was doing, I would say, "Good... Busy!" At that time, I had just accepted a full time offer at a media company, and was in the midst of finishing four feature films that were in various stages of post production, while consulting on other feature narratives and documentaries that were going into development or production, teaching, marathon training, and of course managing a pretty active social life that littered my Instagram. Things didn't seem like they would get any quieter.

I also longed for a holiday, since, instead of a two-week break after leaving MTV and joining the new gig, I actually overlapped the two full time positions as I finished off, and my usual Christmas spent in Oman had been forgone as I produced a film in Yosemite. I had seen my parents for a measly two days in October '13 as I went home to get my O-visa, my "alien of extraordinary ability" visa. Granted, I speak to them quite regularly, and my brother as well, and we are goings on a family vacation to Japan this week, so the wait will indeed be worth it.

Anyway, since early April, I decided to erase the B word from my life. I put my iPhone away during meals or drinks, (and the good thing about having a crappy battery, is that mealtime is usually when I need to charge my phone), I walk down the street listening to music and not responding to emails - if that has to happen, then I stop on the side of the road, I've been able to become more efficient at work and have carved out more time for myself and for my friends, and also for dating. Removing the B-word has, in a strangely simple way, lifted a self-inflicted weight off my shoulders.

Sure, I have a lot going on, but honestly, I should be worried if there wasn't! One of my dear friends Shivani recently stated, "You're the most accessible and available busy person I know!" And I take that as a great compliment. I will honestly note that I'm very far from perfect, when it comes to balance, and I'm quite aware of my shortcomings, which I'm trying to work on, but for now, I do feel lighter, more energized and more inspired than ever before... And that's because I removed a word that had become a definitive response to "How are you?" Now I just say, "Doing great, thanks!" And you know what? I really am.

The Busk family commemorates the 3 year anniversary of their viral video "My Balls, My Balls!" by re-staging the infamous hit to Cory's groin. Only this time in slow motion. Starring Michael Showalter & Zandy Hartig. Watch more here: http://bit.ly/1lFAGfN

"American Viral" (Season One: 5 episodes, 4-7 mins. each) -- In the vein of dysfunctional ensemble comedies such as "Arrested Development" comes this zeitgeisty sitcom about a family desperately trying to recapture the fame they achieved when a YouTube video of their son went viral. To that end, the shameless patriarch, Roger Busk (Michael Showalter), will stop at nothing to exploit his family. Showalter is well-known to comedy fans for his stints in the sketch comedytroupes "The State" and "Stella", as well as for writing and starring in cult-classic Wet Hot American Summer and his smash web series "Michael Showalter Showalter"; he also wrote this summer’s They Came Together, starring Paul Rudd and Amy Poehler. Co-starring Zandy Hartig (They Came Together, "Children’s Hospital") as Mimi Busk, the series also features Janeane Garofalo ("Inside Amy Schumer", Bravo’s upcoming "Girlfriend’s Guide to Divorce"), actor/director David Wain (They Came Together, Wet Hot American Summer) and Steve Agee ("New Girl", "Community"). "American Viral" was created and directed by AnnaRose King, Jennifer Suhr, and Shandor Garrison, and produced by Carolyn Mao.

We asked kids about what makes their dad special, watch what they had so say! Celebrate the heroes in your family's life this Father's Day with a card from Treat. Order your cards by 6/10 for Father's Day Delivery! http://www.treat.com/occasions/fathers-day.htm For all the little things you do that make you a big hero, #HappyDaddysDay from Treat!